<p>Revoicing Sámi narratives investigates the relationship between storytellers, contexts and collective tradition, based on an analysis of North Sámi narratives published in the early 1900s. This dissertation “revoices” narratives by highlighting the coexistence of different voices or socio-ideological languages in repertoires and by considering Sámi narratives as utterances by storytellers rather than autonomous products of tradition. Thus, this study serves as an act of “revoicing,” of recovering voices that had been silenced by the scientific discourse which enveloped their passage into print.</p><p>Narrators considered “tradition bearers” were interviewed or wrote down folk narratives that were interpreted as representative of a static, dying culture. The approach chosen in this thesis highlights the dynamic and conscious choices of narrative strategies made by these storytellers and the implications of the discourses expressed in narration. By taking into account the intense context of social change going on in Sápmi at the time the narratives emerged, as well as the context that includes narrators, ethnographers and tradition, the analysis demonstrates that storytelling is an elaboration that takes place in negotiation with tradition, genres and individual preferences.</p><p>The repertoires of four storytellers are studied according to a methodological framework consisting in critical discourse analysis from a folkloristic perspective. The analysis underscores the polyphony of the narratives by Johan Turi, who related with skillfulness of tradition by taking position as a conscious social actor. This study also investigates the repertoires of storytellers Ellen Utsi, Per Bær and Isak Eira who were interviewed by the</p><p>Norwegian “lappologist” Just K. Qvigstad. Their contributions to his extensive collection of Sámi narratives express their relation to tradition and to the heteroglossia that surrounded them. Based on a receptionalist approach, this dissertation investigates the implications of these narratives for the North Sámi community at the turn of the twentieth century.</p><p>Storytelling appears to have had a set of functions for community members, from the normative as regards socialization, information and warning against dangers to the defensive with the elaboration of a discourse about solidarity, identity and empowerment.</p>

Revoicing Sámi narratives investigates the relationship between storytellers, contexts and collective tradition, based on an analysis of North Sámi narratives published in the early 1900s. This dissertation “revoices” narratives by highlighting the coexistence of different voices or socio-ideological languages in repertoires and by considering Sámi narratives as utterances by storytellers rather than autonomous products of tradition. Thus, this study serves as an act of “revoicing,” of recovering voices that had been silenced by the scientific discourse which enveloped their passage into print. Narrators considered “tradition bearers” were interviewed or wrote down folk narratives that were interpreted as representative of a static, dying culture. The approach chosen in this thesis highlights the dynamic and conscious choices of narrative strategies made by these storytellers and the implications of the discourses expressed in narration. By taking into account the intense context of social change going on in Sápmi at the time the narratives emerged, as well as the context that includes narrators, ethnographers and tradition, the analysis demonstrates that storytelling is an elaboration that takes place in negotiation with tradition, genres and individual preferences. The repertoires of four storytellers are studied according to a methodological framework consisting in critical discourse analysis from a folkloristic perspective. The analysis underscores the polyphony of the narratives by Johan Turi, who related with skillfulness of tradition by taking position as a conscious social actor. This study also investigates the repertoires of storytellers Ellen Utsi, Per Bær and Isak Eira who were interviewed by the Norwegian “lappologist” Just K. Qvigstad. Their contributions to his extensive collection of Sámi narratives express their relation to tradition and to the heteroglossia that surrounded them. Based on a receptionalist approach, this dissertation investigates the implications of these narratives for the North Sámi community at the turn of the twentieth century. Storytelling appears to have had a set of functions for community members, from the normative as regards socialization, information and warning against dangers to the defensive with the elaboration of a discourse about solidarity, identity and empowerment.

Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery. Chapter Two theorizes adaptation as a responsive reading practice in the context of dance adaptations of Ondaatje’s writing (Bruce McDonald’s Elimination Dance and Veronica Tennant’s Shadow Pleasures). In Chapter Three, Clarke’s jazz opera Québécité, with libretto by Clarke and music composed by D.D. Jackson, foregrounds a central argument of this dissertation: that multi-vocal poetics can, in fact, reconfigure multicultural politics. Chapter Four turns to polyphony as a textual representation of multi-vocality in the poetry of Robert Bringhurst. Through a close-listening to a musical poem by Jan Zwicky, the Conclusion points towards new critical directions in listening to Canadian poetry. Only in understanding how cultural and political performances are recorded, enacted and received both on and off the page can we listen, critically and actively, to our multi-voiced Canadian soundscapes.

Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery. Chapter Two theorizes adaptation as a responsive reading practice in the context of dance adaptations of Ondaatje’s writing (Bruce McDonald’s Elimination Dance and Veronica Tennant’s Shadow Pleasures). In Chapter Three, Clarke’s jazz opera Québécité, with libretto by Clarke and music composed by D.D. Jackson, foregrounds a central argument of this dissertation: that multi-vocal poetics can, in fact, reconfigure multicultural politics. Chapter Four turns to polyphony as a textual representation of multi-vocality in the poetry of Robert Bringhurst. Through a close-listening to a musical poem by Jan Zwicky, the Conclusion points towards new critical directions in listening to Canadian poetry. Only in understanding how cultural and political performances are recorded, enacted and received both on and off the page can we listen, critically and actively, to our multi-voiced Canadian soundscapes.

This thesis analyzes William Golding&rsquo / s Rites of Passage using a detailed examination of the Bakhtinian concepts of heteroglossia, polyphony and the carnivalesque to investigate the points of mutual illumination and confirmation between Bakhtin&rsquo / s ideas and Golding&rsquo / s novel. Therefore the method of analysis is divided between a close study of Rites of Passage and an equally close examination of Bakhtin&rsquo / s ideas. The Bakhtinian concepts studied in this thesis are central to his idea of language and theory of the novel and their analysis in Rites of Passage reveals that while these concepts shed light on the stylistic, structural and thematic complexities of the novel, the novel also verifies the working of these concepts in practice. Moreover, the results of the analysis indicate two main points in which Golding&rsquo / s novel and Bakhtin&rsquo / s ideas confirm and illuminate each other. The first point is related to Bakhtin&rsquo / s celebration of the novel genre for its capacity to include diverse elements, a celebration that find its counterpart in Golding&rsquo / s novel due to the novel&rsquo / s heteroglot nature, polyphonic structure and inclusion of the carnivalesque. The second point is related to Bakhtin&rsquo / s notion of dialogism which emerges as a relational property common to his mentioned concepts. As this thesis shows, Golding&rsquo / s Rites of Passage is a dialogic novel in this regard, with its foregrounding of dialogic relations between heteroglot languages, characters&rsquo / voices and social classes. This thesis ends with a discussion indicating postmodern aspects of Bakhtin&rsquo / s ideas and Golding&rsquo / s novel, which include intertextuality, the problematization of truth, and the blurring of boundaries between opposites.

Rabbit Lake explores the concerns of citizens who testified at hearings held by the Rabbit Lake Uranium Mine Environmental Assessment Panel throughout Saskatchewan in 1993. The poems that form my thesis are both lyrical and experimental, derived in part from the voices found in the Rabbit Lake transcripts. Inspired by rhizome theory and rhizomorphous structures, the voices in my thesis are nomadic: their primary impulse is to map interconnected histories and geographies; in so doing, these voices transcend boundaries and coalesce to form a polyphonic, non-linear narrative. The influence of ecocritical theory is reflected in poems that draw the reader’s attention to the non-human world affected by uranium mining, most notably in an interspersed series of experiments detailing various forms of lichen found throughout Saskatchewan. Various other textual experiments, including collage and erasure, are lines of flight within the rhizome of the thesis. The inclusion of “(inaudible)” passages found in the transcripts is intended to draw the reader’s attention toward what was misheard or left unsaid at the hearings. The presence of an “unknown” speaker is designed as a poetic and political intervention that enables elaborations. Beginning with Canada’s historical involvement in the Manhattan Project, that is, the United States’ earliest attempt to build a nuclear weapon, my thesis moves from Great Bear Lake, Northwest Territories, and into the lakes and waterways of Saskatchewan’s north. The voices that emerge, situated in association with lakes and rivers, include a chorus of women and a chorus of Indigenous elders, an invented uranium mining corporation, “Uraneco,” and several scientists, including a biologist and geophysicist, as well as an invented cosmochemist and limnologist. From Saskatchewan’s northern waterways, the voices wander outward, evoking sites affected by the nuclear industry beyond Saskatchewan’s borders, from crops in the province’s south historically affected by fallout from nuclear weapons’ testing in Nevada, to radioactive detritus left in the deserts of Iraq due the United States’ use of depleted Canadian uranium in munitions. The intention behind this figurative explosion of the thesis is to illustrate the extent to which a seemingly isolated uranium mine may affect the whole world.

The purpose of this degree project has been to examine the implications of the provision of certain methodological support mechanisms, what has often been referred to as "instructional scaffolding" in literary didactics, to assist students in the ESL/EFL classroom in their interaction with the various literary texts into which they come into contact during their English language education at the upper secondary level in Sweden. My primary interest has been to gauge the response of the students involved in this study to the particular types of literary didactic methods utilized, for example, regarding their effectiveness in aiding the learning process as well as their impact on the literary, or aesthetic, experience itself. An analysis of student responses to a literature instruction module based on a reading of Joseph Conrad's Heart of Darkness will demonstrate that certain forms of literary didactic methods in general, and significantly, particular forms of what can be conceptualized as instructional scaffolding, play a crucial role for both the learning process and the student's aesthetic experience of literature.

Submitted by ROSELI DEIENNO BRAFF null (rosebraff@hotmail.com) on 2016-05-11T23:57:55Z No. of bitstreams: 1 PDF ROSELI D BRAFF.pdf: 1240485 bytes, checksum: 01fc7b89b1201333f1494bfaa660e649 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-13T13:19:45Z (GMT) No. of bitstreams: 1 braff_rd_dr_arafcl.pdf: 1240485 bytes, checksum: 01fc7b89b1201333f1494bfaa660e649 (MD5) / Made available in DSpace on 2016-05-13T13:19:45Z (GMT). No. of bitstreams: 1 braff_rd_dr_arafcl.pdf: 1240485 bytes, checksum: 01fc7b89b1201333f1494bfaa660e649 (MD5) Previous issue date: 2016-04-29 / Este trabalho investiga como se materializa textualmente a relação dialógico-polifônica entre as vozes femininas dos romances A dança dos cabelos (2001), Sombras de julho (1994) e O vestido (2006), do escritor mineiro Carlos Herculano Lopes, além de interpretações significativas colhidas nos estudos de gênero das três obras. Em razão da ainda pouca visibilidade do autor objeto deste trabalho, o primeiro capítulo apresenta informações pautadas, sobretudo, em fortuna crítica extraída de textos jornalísticos, bem como a contextualização do escritor na História e na literatura brasileira. Em seguida, realiza-se a apresentação das obras do corpus, além de uma síntese das principais linhas teóricas utilizadas. O segundo capítulo dedica-se à análise das vozes em perspectiva dialógica e, também, a um universo ficcional essencialmente masculino, conjugando a violência de classe, aquela que derrama sangue pela posse da terra, e a violência de gênero, a posse do corpo feminino. O terceiro capítulo analisa um universo essencialmente feminino: a violência contra a violência: ação e reação – a vingança e a submissão; o direito à voz e à escrita, bem como o direito à memória, e o ato dessacralizador das tradições ficcionalmente construídas, além da representação como confirmação e denúncia de uma violência instituída, aqui tornada matéria ficcional. Na fundamentação teórica básica, utilizaram-se os conceitos de dialogismo e polifonia desenvolvidos por Bakhtin, essencialmente em Problemas da poética de Dostoievski (2005). A voz do narrador e a percepção do focalizador são analisadas com base no Discurso da narrativa, de Genette (1995). Devido ao corpus, que recorta três obras cujas narradoras são mulheres, e a própria escolha temática, utilizaram-se algumas teorias dos estudos de gênero aplicados ao discurso literário, tais como a noção de gênero e de patriarcado, a partir do pensamento de Kate Millet (2010), Elaine Showalter (1994), Sandra M. Gilbert & Susan Gubar (1998) e Joan Scott (1990). No levantamento diacrônico da história de luta das mulheres, paralelamente ao desenvolvimento da crítica feminista, utilizaram-se obras pautadas pelas reflexões teóricas de Amelia Valcárcel (2005) e de Constância Lima Duarte (2003), que apresenta uma proposta de compreensão do movimento feminista no Brasil. Das análises formais, às interpretações baseadas nos estudos de gênero, confirma-se a hipótese de que a multiplicidade de vozes presentes nas narrativas estudadas concretiza-se no que Bakhtin (2005) batizou de romance polifônico. Lopes posiciona-se, implicitamente, diante desse sonoro coro e denuncia o universo trágico do patriarcado mineiro, cuja engrenagem frequentemente subjugou a mulher. / This research investigates how it is materialized in the text the dialogical-polyphonic relation between the female voices of the novels A dança dos cabelos (2001), Sombras de julho (1994) and O vestido (2006) by Carlos Herculano Lopes – a writer from Minas Gerais –, in addition to meaningful interpretations collected through the gender studies approach of the three works. Because of a yet small visibility of the author subject of this research, the first chapter presents information extracted mainly from journalistic texts as well as an overview of the writer in history and Brazilian literature. Thereafter, a presentation of the corpus takes place, plus a summary of the main theoretical lines used in this dissertation. The second chapter is dedicated to the analysis of voices in dialogical perspective, and to an investigation of an essentially male fictional universe, which combines class violence, the one that spills blood because of land possession, and gender violence, through the possession of female body. The third chapter analyzes an essentially feminine universe: violence against violence: action and reaction – revenge and submission; the right to voice and writing, as well as the right to memory and the desecrating act of traditions fictionally built, besides the study of representation as confirmation and denunciation of an established violence, transformed here in fictional matter. For the basic theoretical foundation, it was used Bakhtin’s concept of dialogism and polyphony developed mainly in Problemas da poética de Dostoievski (2005). The narrative voice and the perception of the focalizor are analyzed based on Genette’s (1995) Discurso da narrativa. Due to the corpus, which comprises three works whose narrators are women, and even to the theme choice, it was used some theories from gender studies applied to literary discourse, such as the notion of gender and patriarchy, based on the thoughts of Kate Millet (2010), Elaine Showalter (1994), Sandra M. Gilbert & Susan Gubar (1998) and Joan Scott (1990). In the diachronic survey of women's struggle history, concurrently with the development of the feminist criticism, it was utilized works founded on the theoretical reflections of Amelia Valcárcel (2005) and Constância Lima Duarte (2003), which presents a proposal of understanding of the feminist movement in Brazil. From the formal analysis to the interpretations according to gender studies, it is possible to confirm the hypothesis that the plurality of voices displayed in the studied narratives materializes what Bakhtin (2005) named as polyphonic novel. Lopes implicitly takes position before the sonorous chorus and denounces the tragic universe of the patriarchy in Minas Gerais, whose gear has often subjugated women.

[pt] Este trabalho consiste em uma leitura do romance Os Irmãos Karamázov, de Fiódor Dostoiévski, mediante quatro ensaios e uma breve introdução ao universo polifônico do autor, baseada nas concepções de Mikhail Bakhtin, Nicolai Berdiaev e Luiz Felipe Pondé. Os ensaios podem ser lidos como textos autônomos, embora dialoguem com frequência entre si, e não se atêm à defesa de um argumento central, visando, sobretudo, a ampliação das possibilidades hermenêuticas oferecidas pelo objeto. Trata-se de uma escolha que leva em consideração o caráter de obra aberta e resistente à sistematização, como é ressaltado por inúmeros autores. A abordagem é transdisciplinar e dialoga com conceitos dos campos da Literatura (crítica e teoria), Filosofia, Psicologia e Teologia, em consonância com a natureza hipertextual do romance, apresentando uma multiplicidade de caminhos pouco explorados até a atualidade e que podem ser aprofundados futuramente por pesquisadores de diversas áreas. O ponto de partida é o conceito de polifonia, que tem origem no campo da Teoria da literatura, com os escritos de Bakhtin, mas pode ser expandido e aplicado numa reflexão transdisciplinar que envolve elementos da psicologia analítica de Jung, do pensamento de Kierkegaard, Nietzsche e Camus e dos textos canônicos da Ortodoxia e de seus intérpretes contemporâneos. A divisão temática dos ensaios segue a estrutura do romance, baseado principalmente no conflito entre razão e fé, que dá origem ao confronto dialógico entre os irmãos Ivan e Aliócha Karamázov e se afigura como a preocupação máxima de Dostoiévski nas últimas décadas de sua vida, determinando as bases de sua concepção bastante peculiar acerca do problema da liberdade, desenvolvida em detalhes no decorrer do trabalho. / [en] This work consists of a reading of the novel The Brothers Karamazov, by Fyodor Dostoevsky, in the key of four essays and a brief introduction to the author polyphonic universe, based on the ideas of Mikhail Bakhtin, Nicolai Berdyaev and Luiz Felipe Pondé. Although intertwined, the essays can be read as standalone texts and do not pretend to defend a central argument; they aim mainly at expanding the possibilities offered by the hermeneutical object. It is a choice that takes into account the character of open work, resistant to systematization, as emphasized by numerous authors. The approach is interdisciplinary and dialogues with concepts from the fields of Literature (criticism and theory), Philosophy, Psychology and Theology, in line with the hypertextual nature of the novel, presenting a multiplicity of paths that remain unexplored and can be further developed by future researchers. The starting point is the concept of polyphony, which originates in the field of Literary Theory, with the writings of Bakhtin, but can be expanded and applied to a transdisciplinary reflection that involves elements of Jung s analytical psychology, the thought of Kierkegaard, Nietzsche and Camus and canonical texts of Orthodoxy and its contemporary interpreters. The thematic division of the texts follows the structure of the novel, based mainly in the conflict between reason and faith which gives rise to the dialogical confrontation between the brothers Ivan and Alyosha Karamazov and appears to be the highest concern of Dostoevsky in the last decades of his life, determining the basis of his rather peculiar approach on the problem of freedom, developed in detail in this work.

Esta dissertação focaliza um gênero textual denominado texto de divulgação científica, o qual tem por objetivo divulgar as recentes descobertas científicas. Ao se tratar de um modelo textual com peculiaridades próprias, busca-se, a partir do conceito bakhtiniano de gênero, classificá-Io corno um gênero emergente, por estar cadavez mais freqüente na rnídia impressa e eletrônica. Assim, o objetivo desse trabalho é mostrar como esse gênero textual é configurado por meio de estratégias lingüísticas que caracterizam o dialogismo e a polifonia. Para atingir tal propósito procedeu-se a uma análise enunciativa de textos de divulgação científica veiculados na Folha online, procurando verificar os diferentes recursos lingüísticos empregados para reformulação do referido texto a partir do texto original -o artigo científico. Os resultados apontam o texto de divulgação científica como um gênero predominantemente politõnico, pois, ao jogar com recursos disponíveis na língua, como por exemplo aspas, parênteses e certos marcadores discursivos, o divulgador tem a possibilidade de transformar um texto que apresenta maior grau de objetividade, imparcialidade e emprego de palavras técnicas, características próprias do artigo de cunho científico, em um texto constituído por uma - linguagem com palavras próximas do cotidiano do leitor e, portanto, permitindo uma leitura mais acessível. / This dissertation focuses a textual genre that spreads recent scientific discoveries. As it is a textual model with special characteristics, it was c1assified as an emergent genre called scientific spread text and the theOIYused is based on Bakhtin' s conceptof genre. So, the objective of this study is to show as this textual genre is constructed through linguistic strategies in order to characterize the dialogism and the polyphony. To reach this purpose, we procedure an analyze of scientific spread texts veiculatedon Folha onIine in order to verify different linguistic resources used to reconstruct the referred text based on original text: scientific article. The results point out the scientific spread texts as a polyphonic genre that employs resources available in the language: quotation marks, parentheses and certain discourse markers. In this way, the spreaderpresentsthe possibilityto change a text with high leveI of objectivity, impartiality and use of technical words, characteristics own of scientific artic1ein a text constituted by a language with vocabulary c10sed to the reader and, furthermore, allowing a more accessible reading.